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How To Write Photoplays 


THIRD EDITION 


EMBRIE ZUVER v/ 


E-Z SCENARIO CO. 

NEW YORK CITY 


COPYRIGHT. 1915 
BY 

EMBRIE ZUVER ^ 
(All rights reserved.) 


©CI.A414478 


N0V-8i9i5 ' 


INTRODUCTORY. 


We endeavor to give you in this Book of Instructions, 
all the correct and up-to-date information necessary in 
writing Photoplays. If you will read carefully, and follow 
the instructions contained in this book we can see no reason 
why you cannot become a successful Scenario writer. 

It is needless for us to go into details about the ever-in- 
creasing demand for new pictures, or the wonderful growth 
of this new industry. We could make this Book up into 
150 or 200 smaller pages, by adding considerable padding. 
We could dwell on each subject at great length, put in 
unnecessary reading matter for a few cents additional 
expense. 

We do not deem it advisable, however, to confuse or 
burden you with padded matter which is not necessary for 
your success. Our aim is to show you in a clear and simple 
manner, how to put your ideas into proper form necessary 
for acceptable Photoplays. 


CONTENTS 


PAGE 

LESSON I— Technical Studio Terms 1 to 11 

LESSON II— Your Idea 11 

LESSON III— Topics to Write About 12 

LESSON IV— Formation of Plot 18 

LESSON V— Length of Play 14 

LESSON VI— Scenario 15 

LESSON VII— Subject or Title 17 

LESSON VIII— Synopsis 18 

LESSON IX — Cast of Characters 18 

LESSON X— Scenes 19 

LESSON XI — Continuity of Scenes 20 

LESSON XII — Plays that are Practical for the 

Camera 21 

LESSON XIII — Leaders or Subtitles 22 

LESSON XIV — Telegrams, Letters, etc 23 

LESSON XV — Entrances and Exits 23 

LESSON XVI — Stage-settings 24 

LESSON XVII — Crisis, Anti-Climax and Climax. 24 

LESSON XVIII— Outline of Play 25 

LESSON XIX — Emotion and Sympathy 26 

LESSON XX — General Instructions 27 

LESSON XXI — Preparation of Manuscript .27 to 28 
LESSON XXII— Where to Sell Plays and Prices 

Paid 29 to 80 

LESSON XXIII— Copyrights 30 

LESSON XXIV— Board of Censors 80 

LESSON XXV — The Production of a Photoplay 

30 to 31 

LESSON XXVI— A Few Dont’s 31 to 32 

LESSON XXVII— Conclusion 88 to 84 


Photoplay Writing 

LESSON 1. 

Every Photo-Playwright should know the various tech- 
nical terms and names used in the profession. 

You must use the right word at the right time, and, 
consequently, a knowledge of the different photoplay 
terms and expressions is necessary. 


Action. 

Action means the movements, actions and gestures of 
the players in the development of the plot. 


Adaptation. 

A Play written from a copyrighted book, poem or story. 


Bust. 

A “Bust” is a “Close-Up” of a person taken from the 
waist line up. Practically all Directors use the expres- 
sion “Close-Up” instead of Bust. 


4 


PHOTOPLAY WRITING. 


Cast of Chabacters. 

The cast of characters is simply a list of the important 
persons who act in your play. 


Character. 

A player who takes part in producing the play. 


Climax. 

The end of a play or the last scene. The climax is the 
strongest part of the Play. The anti-climax is the begin- 
ning of the climax or the unraveling of the plot. 


Close-Up. 

If you desire to magnify or enlarge some particular 
scene, person or object it is called a close-up. To obtain 
a close-up picture, the camera is placed very close to the 
scene or object to be photographed. A close-up scene is 
taken when you want the same to show up in a very 
distinct and clear manner and is employed to break up an 
unusually long scene, or to make a certain point of your 
story very forceful. 

Use Close-Up frequently as they give new life to the 
scene and make the characters more familiar to the audi- 
ence. 

Refer to scenes 33 and 50 of sample play. 


5 


PHOTOPLAY WRITING. 


Continuity. 

A continuous story which runs along in a smooth, un- 
interrupted manner. 


“Cut.’’ 

A cut means to shorten an action as in scene 15 of sample 
play. 


“Cut Back.” 

Referring back to a preceding scene, see scene 16. 


“Cut In^^ Leader. 

A “Cut In” Leader or Sub-Title is introduced into a 
scene after which the action goes back to the same scene. 
In other words a “Cut In” Leader cuts into the middle of 
a scene. Please refer to Sub-Title No. 1 of sample play 
which is a “Cut In” Leader or “Cut In” Sub-Title. 


Development. 

The building up of the plot and arranging the action 
into different scenes and parts. 


6 


PHOTOPLAY WRITING. 


Director. 

The Director is the man who directs the different move- 
ments necessary in taking the pictures. He visualizes 
your play, arranges the various scenes, and casts the actors 
and actresses into their respective characters. He directs 
the correct actions of the picture from beginning to end. 


Dissolve. 

The gradual introduction or fading out of a person or 
scene. 

Is done by double exposure and is used when referring 
to past recollections or dream pictures. 


Editor. 

The Editor is the person who passes on your play when 
sent to the Moving Picture Manufacturing Companies. 
If he sees any merit in your story and has a cast of char- 
acters suitable for your play, he will send you a check for 
what he thinks the play is worth. If he cannot use your 
story he will have same returned to you. 


Film. 

The film is in the form of a celluloid ribbon about one 
inch wide and is woimd on a roll. An average of sixteen 
pictures are taken in a second and these sixteen pictures 
will be on one foot of film. 


7 


PHOTOPLAY WRITING. 


Flash. 

A very brief glimpse of an action or scene. 


Inseets. 

Inserts are put in to make the story more clear to the 
spectators and are foreign to the actions of the characters. 

Inserts may be in the form of a note, newspaper clipping, 
telegram, dialogue, a “Close Up’’ or in fact anything that 
is necessary to carry a scene along or to break a scene if 
it is too long. 

Refer to scenes 23-27-36, 45, 46, 50 of sample play. 


Leaders and Subtitles 

A “Subtitle” is a written explanation preceding a 
scene — except before the 1st scene of the Play, when a 
“Leader” is sometimes used. It is not advisable, however, 
to start your Play with a “Leader,” as good Action is 
better. 

Refer to lesson 13 where we explain more fully the 
meaning of Leaders and Sub-Titles. 


Masks. 

Occasionally in moving pictures you will see the vision 
which a character witnesses when looking through a hole in 
the floor or wall or oftentimes through a field glass. Instead 


8 


PHOTOPLAY WRITING. 


of viewing the picture in its usual shape it is shown to you 
in the same way that you would actually see it if you were 
to look at it through a field glass. Such scenes are called 
masks. 


Melodramatic. 
A Play of a sensational nature. 


Padding. 

Putting unnecessary action into a story in order to 
make a full reel. 


Photoplay. 

A Photoplay or a Moving Picture Play is a story told 
in pictures, where all conversation is eliminated and where 
the camera portrays the story. In fact, it is simply panto- 
mime or dumb show, presented in pictures or, in other 
words, “Silent Drama of the Screens.” 


Plot. 

The plot is the theme or idea of your story. 


Producer. 

Producing companies hire the actors and actresses and 
take the pictures as you see them on the screen. 


9 


PHOTOPLAY WRITING. 


Projecting Machine. 

A projecting machine is the machine that throws the 
pictures on the screens as you see them in the moving 
picture theatres. 


Punch. 

Any action that will create and increase suspense and 
make the play a success. 


Reels. 

Pictures are shown in different reels, viz.: Split reels, 
single, double or multiple reels. A Split reel is composed 
of two separate short stories, on one reel. 

A full one reel contains 1,000 feet of film which can be 
shown on the screen in about 20 minutes. 

A multiple reel means more than one reel. 


Register. 

The word register is used when you want to make the 
actions of the actor very impressive to the spectators. The 
actor is supposed to play his part accordingly. 

For examples, refer to scenes 3-5-7-13-17 of sample 
play. 


Releases. 

Releasing a picture means that the film manufacturer 
places it upon the market. 


10 


PHOTOPLAY WRITING. 


SCENAEIO. 

Scenario is a common term now being used In the mov- 
ing picture business, and means the outline or sketch of 
a theme, put into scenes in consecutive order so as to be in 
form to offer to the producers or film manufacturing com- 
panies. 

Scene. 

Action which takes place in one spot without moving 
or stopping the camera. 


Set. 

The arrangement of scenery for interior or exterior 
scenes. 


Suspense. 

Some action or part of the Play that arouses the inter- 
est of the audience and makes them “all attention.” 


Synopsis. 

The synopsis is the story written in a brief, condensed 
way, eliminating all unnecessary words. The synopsis 
enables the Editor to see, in a few minutes reading, the 
idea of your play. If your Synopsis appeals to him he 
will read the play. If not, he will reject it. 


11 


PHOTOPLAY WRITING. 


Technique. 

The correct points of formation or construction for a 
photoplay. 


Visions. 

When one of your characters thinks of some happy or 
well-remembered day in his or her life, a vision of the scene 
is reproduced. It is usually shown in upper right-hand or 
left-hand comer of the screen. 


Visualize. 

To be able to picture your story in your mind’s eye, 
and see that your idea is practical for screen production. 


LESSON IL 
Your Idea. 

When starting to write your play, first settle upon your 
idea and add to it as your imagination pictures the plot, 
as it develops, until you have a sequence of events, which 
will form an interesting Photoplay. 

Be original with your ideas, because himdreds of old 
ones are rejected every week. Your own personal experi- 
ences will often give you good ideas for a picture. Keen 
observation will lead to many good Ideas. Be observ- 
ing in your everyday mode of living and you will be sur- 
prised at the number of germs and plots you will find for 
good Photoplays. 


12 


PHOTOPLAY WRITING. 


Get an idea that is worth while. It is the Big Idea or 
Plot that must be carried out to a logical and interesting 
conclusion. 

A great many writers are not able to tell the difference 
between what is Plot and what is not. Hundreds of Scen- 
arios are submitted which are written in neat up-to-date 
correct Scenario Form but they lack Plot and are conse- 
quently returned. 

You should be able to visualize your story, and know 
that what you are writing can be transferred to the screen. 
See that the characters perform the actions according to 
man’s way of doing things. 

Write about subjects with which you are thoroughly 
familiar, and study the characteristics of the parties you 
introduce into your story. 


LESSON III. 

Topics to Write About. 

There are numerous subjects you can write on, namely. 
Friendship, Fidelity, Thoughtfulness, High Character, 
Love for Mankind, Integrity, Devotion to Parents, Benev- 
olence, Charity or Heroism. 

You can also show the folly of dishonest acts, the dan- 
gers of weakness of character, selfishness or dishonorable 
efforts to gain wealth and fame. 

The parting of friends, the meeting of enemies, the 
complex working of governments and politics, the new 
inventions and rivalry between inventors, all furnish an 
everlasting source of Ideas and Plots for Photoplays, 

No matter how sad the play might be, at the different 
stages, always try and work out a happy ending. 

A great number of themes can be worked into Scenarios 
that will teach a good lesson and portray acts that might 
go home to many in the audience. 

In eve^day life, you no doubt see many incidents that 
have merit for screen entertainment. 


13 


PHOTOPLAY WRITING. 


Always try to bear in mind, that the highest aim of the 
Photoplay is to portray true insight of human nature and 
character. Write Plays with heart interest. 

If so inclined, you can write plays in which children 
take part, but so arrange the acts so they will not be impos- 
sible for the child actors. An intelligent child in a nice 
part in a picture goes far in gladdening the hearts of the 
audience. 

Comedy plays are in the greatest demand. Good com- 
edies are the most difficult to write, and naturally sell for 
the most money. Always remember, however, to write 
as your inclination leads you. 

The kind of humor wanted is not of the rough nature. 
You should not try to make people laugh at cruel or in- 
human jokes or depict scenes that cause accidents. 

If you can write a play into which you can put a good 
moral, it will add merit to your Scenario. 

Plays showing summer scenes should be submitted in 
the early Spring. 

Winter stories should be submitted in the Fall. For 
instance, if you have a play with summer scenes showing a 
Park, the Sea Shore or any other beautiful summer loca- 
tion, you must submit that kind of a play in March or 
April. It takes from six weeks to two months for a pro- 
ducing company to make the necessary arrangements for 
the production of a play. 

You must therefore, always figure ahead and if you 
have a Christmas Play, it should be submitted about Oc- 
tober. 


LESSON IV. 

Formation of Plot. 

Your plot will not come to you in a finished form. You 
will probably have the idea in the rough state. 

As thought engenders thought, so does one Idea create 
or develop another. Draw from yom* imagination and 
instead of being content with one or two ideas, weave a 


PHOTOPLAY WRITING. 


chain of events, ideas and circumstances so as to make a 
story worth while. 

Arrange the action of your story so that it grows 
logically, and have the scenes follow each other in natural 
succession. 

Start with an incident that arouses interest, develop the 
theme in a consistent way and work for the big climax at 
the finish. 

Ever}^^ plot must have a purpose or problem to solve ; ob- 
stacles will present themselves and difficulties are bound to 
arise, which by a chain of events must be removed. 

The last scene must clear up all problems or preceding 
events. 

The good theme, or object of the play, should win out in 
the end, although it can be thwarted at different times to 
cause suspense. 

Be sure that suspense predominates and is carried out 
from the beginning to the end. 

Your story must have strength and be fascinating enough 
to hold the spectators throughout the play. 

Plot is the keynote of the successful Photoplay and 
with proper formation will draw the checks from the Pro- 
ducers. 


LESSON V. 

Length of Play. 

Have your play last about 20 minutes to the reel. It is 
best to take your manuscript and go through all the action, 
in this way you can plan the length of the play. 

Some inexperienced writers send in plays which could be 
shown in 6 to 8 minutes, while others send them in so full 
of incidents, it would require twelve or fourteen hundred 
feet of film to portray them, as written, and would take 
25 or 30 minutes to show them on the screen. 

Always arrange your scenes so that they can be clearly 
understood. 


15 


PHOTOPLAY WRITING. 


The way to time a play is to start with the first scene 
and enact all the scenes of the Play. 

If it takes you only 8 minutes to act out your Play, 
then you know it is too short for a one reel picture or 
1,000 ft. of film. 

Comedy action is much more rapid than drama and in 
Comedy plays more scenes are used. 

Split Reel Pictures. 

Split reel pictures are not in demand now and only a few 
companies are buying them. 

One Reel Pictures. 

The average one reel pictures, now in demand, have from 
40 to 50 scenes for Dramas and from 60 to 80 scenes for 
Comedies. The number of scenes, of course, depending on 
the length of the story. Some scenes take longer than 
others ; one scene might be 25 seconds long, and another 3 
or 4 minutes. The stage director sometimes adds a few 
scenes or cuts some out, as he thinks advisable. 

Two Reel Pictures. 

Two reel pictures are wanted by the majority of Pro- 
ducers and are in greater demand at present than one reel. 

The number of scenes for a two reel picture is naturally 
about twice as great as a one reel or from 80 to 160 scenes, 
depending on the kind of Play and the amount of action. 


LESSON VI. 

Scenario. 

Have a purpose in your plot. Knowledge and Technique 
in Photoplay Writing {without an Idea that is new and 


16 


PHOTOPLAY WRITING. 


original) are absolutely worthless. 

You must first have a Plot or Idea that is worth-while 
and different, something directly appealing and inspiring. 
On the other hand, your Plot must be properly constructed 
in Scenario Form and contain the necessary technique 
to make it self-explanatory and marketable. 

Film Producers will pay much more for original Ideas 
worked out into proper, technical Scenario Form. 

Your Scenario should give the Editor an accurate under- 
standing of the theme of your story, and show what each 
character is supposed to do. 

From the beginning, you should remember that some- 
thing must be taking place all the time to accentuate the 
various developments of the story. 

All sentences of your Scenario should be condensed. 
Refer to our model Scenario. 

Refer to our model Scenario and note how all sentences 
are condensed. 

Photoplays are, of course, dumb, and their meaning must 
be clearly expressed by action. It is, therefore, not neces- 
sary to write as you would in a book, or as would be spoken 
on the stage. The scene action on the screen tells the 
story, and the camera carries out the details and theme 
of the play, in an even more comprehensive way. 

The beginning of the Play is almost as important as 
the end. 

Arouse interest in your first scene, and you will then 
have a better chance to hold the spectator’s attention for 
the rest of the play. Always remember, however, to in- 
corporate interest in all scenes, so as not to allow the 
thoughts of the spectator to waver or drift away. 

You must stimulate the imagination of the audience, so 
that they will watch with keen interest every scene in the 
play. 

Write slowly and surely, for a hurriedly written 
Scenario will no doubt, contain many faults, and will not 


17 


PHOTOPLAY WRITING. 


create as good an impression with the Editor as one care- 
fully prepared. 

Write a story with Interest. 

Is there any interest in a story where the wayward 
son is reformed by the appeals of his sweetheart? 

But let us suppose that the wayward son is caught in 
the act of burglary. The master of the house takes his 
revolver from him, lays it on the table and tells him to 
sit down — then we have started interest. 

Instead of calling the police, he asks him why he has 
lowered himself to such a degrading position as burglariz- 
ing. 

Then the daughter appears, and although she knows 
that her father is a professional gentleman-crook, still 
she takes an interest in the young wayward boy and treats 
him with kindness. 

You must, therefore, incorporate interest in every point 
of the play, and while the plot must not be over-done, still 
the actions of the characters must awaken the emotions of 
the audience. 

You can develop the above idea, strengthen the action 
as you proceed, and then after a combination of events, 
have the daughter reform both her gentleman-crook father 
and the wayward son. 

Your Scenario should have a number of unusual turns 
and the Grand Climax must not be reached till many 
difficulties have been overcome. 


LESSON VII. 

Subject or Title. 

The Subject or Title of your play is a very important 
thing. Select an original Title that is catchy and will 
attract the attention of the public, particularly when shown 
on posters. It should be expressive of the plot and stimu- 
lating to the Editor’s curiosity. 


18 


PHOTOPLAX WRITING. 


Use as few words as possible for your title; try and limit 
yourself from two to five words. 


LESSON VIIL 
Synopsis. 

Write the Synopsis or outline of your story from your 
idea. The Synopsis should be as brief as possible; at the 
same time giving the reader a clear idea of your play. The 
Synopsis sells or rejects your play, so by all means make it 
attractive and catchy. 

In writing the Synopsis, limit yourself to about 250 
words, per reel, as a maximum, for the average Scenario 
Editor does not want to take the time to read a long drawn- 
out Synopsis, which could be better understood if con- 
densed into fewer words. Arrange your Synopsis into 
short sentences, in simple language, expressive, crisp and 
to the point. Mention only the VITAL parts of your 
story and make every sentence tell something. Introduce 
only the important characters in your Synopsis, and do 
not give them more than one name when referring to 
them, for instance: do not mention Martha Stone in one 
sentence and then call her Miss Stone in another para- 
graph. The Reader is liable to become confused and get 
the names mixed. 

Some people are able to write a better Synopsis if they 
wait till after they have written the Scenario. This is a 
good way for beginners to do, as all the important point of 
the story can then be put into the Synopsis. 


LESSON IX. 

Cast of Chabactees. 

The number of characters to use all depends on the 
nature of the play. Some scenes require more characters 


19 


PHOTOPLAY WRITING. 


thah others, but it is well to limit your cast to a few princi- 
pal or leading characters. Avoid unnecessary characters. 

The leading characters should appear as early in the play 
as can be arranged. As your story will often be written or 
woven about the incidents in the life of one or two princi- 
pal characters, you should keep them in the foreground as 
much as possible, and not allow the minor characters to 
attract too much attention. Deal with your main char- 
acters first, and then, add your minor characters as they 
are needed. 

Have your characters natural and true to life. The 
name of a character should be short and characteristic. 
A short name is easer to write and to remember. Avoid 
the use of silly or eccentric names, unless you have an 
eccentric comedy or farce. 

Establish a clear relationship between all characters. See 
that they are put in the situation or surroundings in which 
they naturally belong. 

Do not let the spectator lose sight of your leading char- 
acters; follow them through all the incidents of the story 
in which they are represented. 

Many stories are weak on dramatic characterization. 
The average amateur writer has the leading characters 
very poorly developed and usually leaves them to wander 
around alone, without any definite aim or direct action. 

The leading characters must have sufficient action to 
befit the parts they are playing and be impressive to the 
spectators. 

LESSON X. 

Scenes. 

Whenever a picture is taken of new surroundings and 
background it becomes a new scene. Each new scene must 
be shown in your Scenario and numbered consecutively. 

The same stage settings are often used several times with 
different action. See Scenes 1-3-5-7-9-45-50-52 of sample 
Scenario. 


20 


PHOTOPLAY WRITING. 


Brevity is essential when writing your scenes. Do not 
endeavor to depict a scene. In scene I, you will note we 
mention “Teddy’s Rooms,” but we do not describe them. 
We leave that for the Director to do when arranging the 
scene. 

Make all your scenes as simple as possible. All the 
details in connection with the scenes can be taken care of 
much better by the Director. 

The novice sees moving pictures only in a superficial way 
and fails to examine carefully the manner in which they are 
presented on the screen. Many inexperienced writers are 
under the impression that a certain number of scenes are 
required for a thousand feet of film, and proceed to write 
accordingly. The number of scenes should be gauged by 
the length of the play. Time should be spent in gauging 
the length of your various scenes to see that none of them 
contain too much action and mechanical play. 

Study the play as to its technical presentation, forget 
the plot, for the time, and interest yourself in the dramatic 
technique. 

The producer often must divide and sub-divide some of 
your scenes into several scenes, which require cut hacks, 
and, naturally, causes trouble in matching up the broken 
parts perfectly. Therefore, do not have long acting scenes, 
and avoid narrativeness, which we find characteristic among 
amateur writers. Briefness and clearness are the principal 
things to follow; leave nothing to be guessed at or inferred 
by the producer or spectators. 


LESSON XI. 

Continuity of Scenes. 

It is not advisible to have a long lapse of time between 
scenes. Some of the best plays are those in which the action 
takes place in a few hours or days. 

Keep up with your characters in their movements; and 
try to account for all lapses of time, making the scene 


21 


PHOTOPLAY WRITING, 


continue in perfect harmony. Have your characters go 
from one scene to another in a natural way. Do not allow 
a character to pass from the interior of his office to the 
interior of another man’s office. In doing so, you destroy 
the illusion of the two distinct buildings, perhaps far apart, 
and break the continuity of your story by neglecting to 
follow up the character in his various movements. If a 
character is in one scene and you intend that he appear in 
the following scene, be sure and have him eocit from the 
first scene and enter him in the following scene in the proper 
manner. 

When showing the incidents in the lives of two different 
characters, do not show every incident in the life of one and 
then follow with the life of the other. Show the experiences 
of one of the characters in one scene, then flash the other 
character in the next scene, and so on. In this way you 
keep well balanced the incidents surrounding both char- 
acters until the climax is reached. 

For example, refer to scene number 11 of sample play; 
note we leave Teddy after he jumps on the car; in the next 
scene we show Martha and others, and then show Teddy 
again in scene number 13. 


LESSON XII. 

Plays That Are Practical for the Camera. 

It is not advisable to write scenes that are exceptionally 
difficult to photograph, such as a battle in the air, or a con- 
flict in which too great a number of people ai-e engaged. 

Try and lay your scenes in such a way that they can be 
enacted in the Studio or the nearby outside surrounding 
territory of the producer’s plant. 

When reading over your play, examine your different 
scenes and consider if it is possible for the camera man to 
photopgraph them without entailing big expense. 


22 


PHOTOPLAY WRITING. 


LESSON XIII. 

Leaders or Subtitles. 

Leaders or Subtitles are used to cover up gaps in con- 
tinuity, and are supposed to give the spectator a clearer 
understanding of the story; for instance, such expressions 
as “Next Morning,” “The Horrible News,” “Later,” or 
“Midnight,” etc. Such subtitles prepare the audience for 
what is to follow, and help to make the following incidents 
more clear. 

It is sometimes impossible to give the proper explanation 
of the story in action, so a Subtitle is used. 

It is not necessary, to place on subtitles the name of the 
person who is making the “speech.” You should arrange 
your title so that there could be no question as to which 
character was speaking the lines. 

Do not jump from daylight action to night-time without 
inserting a subtitle to show elapsion of time, as in sample 
play Subtitle No. 8 — “Next Morning.” 

Do not, however, be too free with the use of subtitles, 
as the action of your play should tell the story. 

The interjection of conversation into a picture play 
Scenario is sometimes necessary, but it should be avoided, 
if at all possible.. 

The proper wording and placing of Leaders or Inserts 
will improve the film immensely. 

All speech Inserts should be couched in natural 
language, reading as if the character would make such a 
remark. 

If Inserts are in unnatural language, the scene loses 
considerable strength. 

A short scene is often better than a Subtitle, as it por- 
trays the incidents in a more impressive manner. 

At times, you may be obliged to break a scene; which 
means that you flash another scene for a few seconds and 
then go back and show the original scene. As an illustra- 
tion we refer you to Scenes 15, 16 and 17 of sample play. 

The average number of words to use in a subtitle is from 


23 


PHOTOPLAY WRITING. 


2 to 10. A bit of dialogue which is explanatory can be used 
occasionally as a subtitle. Refer to “Inserts” in Scenes 23 
and 27 of sample Scenario. 

It is a good idea for you to number your Subtitles sep- 
arately from the number of scenes, as Subtitle No. 1, Sub- 
title No. 2, etc. 

Put Subtitles between the reels when you have more 
than a one-reel picture, as : 

Subtitle No. 16.— END OF PART ONE. 

Part Two. Subtitle No. 17. — THE TRUTH 
REVEALED. 


LESSON XIV. 

Telegkams, Letters, etc. 

The above are to answer the same purpose as leaders 
and subtitles and are used to explain different points in 
your story. 

Do not use telegrams, letters or newspaper articles unless 
they are absolutely necessary in the working out of the 
plot. They detract from the action of the various scenes, 
and the audience becomes wearied when they are obliged 
to do too much reading on the screens. 

Letters and telegrams should be as concise and con- 
densed as you can make them. It is only necessary to 
show the portion of the letter required to convey the mean- 
ing and make your story clear. 


LESSON XV. 

Entrances and Exits. 

When a character enters or exits from a scene in any 
manner other than on foot, make mention of this in your 
Scenario. Refer to scenes 6 and 11 of sample play. Some- 


24 


PHOTOPLAY WRITING, 


times a character enters in an automobile and another char- 
acter may exit in a cab. 

The plural for exit is “exeunt;” for instance, Teddy 
exits,” and “Teddy and Martha exeunt.” 

LESSON XVI. 

Stage-settings. 

A real feature in Photolays is the setting, which is shown 
by the scenes and surroundings, and takes the place of the 
elaborate description of the novelist. 

When a certain setting in your play is to be one of the 
main features, name it as a scene; for illustration, “Teddy’s 
Room,” in sample Scenario. The stage Director takes care 
of the scene settings, but if you give a list of Props ( as you 
will see given in the sample Scenario) it will be of great 
assistance to the property-man. 

Work as much into each setting as possible, as it is an 
expense to produce each new setting. 

Express your settings or scenes in a few v/ords, and the 
Director will do the rest. Avoid showing expensive set- 
tings. Alwas bear in mind that moving pictures are simply 
photographs and that the elaborate settings you may desire 
must often be taken in the Studio and not in the home of a 
millionaire. 

A great many Scenarios with good plots have been re- 
jected because the expense in producing them was too 
great. 

You, of course, see many elaborate settings; but the pJxiy 
and situations were strong enough to warrant the expense. 

LESSON XVII. 

Crisis, Anti-Climax and Climax. 

Your story may have several crisis points in it, but each 
crisis should be stronger and more interesting than the 


25 


PHOTOPLAY WRITING. 


preceding one, until the Anti-Climaoo, or turning point of 
the play is reached. Then the Climax, which is the last 
scene and the point at which the strongest part is enacted. 

You should have interesting incidents throughout your 
story, so as to hold the attention of the audience and keep 
them guessing till the Climax. 

Do not allow the leading characters to win, or the im- 
portant point to be gained without considerable difficulty. 
Prolong the suspense and make it very hard for the 
audience to figure out how the Play will end. A great 
many Plays are spoiled because the outcome of the story 
was too visible to the audience at the first part of the 
picture. 

Unless your play is strong enough to hold the interest of 
the spectators, througout the play, they will be indifferent 
as to the outcome of the story. 

The Climax must be strong and effective. It is rather 
difficult for an amateur to know when and how to write 
the climax. Do not have a long drawn-out ending. 
Simply satisfy the interest of the audience and leave an 
impression with a Punch. Your story must contain all 
rudiments that lead from the reasonable incidents of the 
plot to the logical ending. 


LESSON XVIII. 

Outline of Play. 

Draw up an outline of your story, give names to your 
principal characters, divide and subdivide your scenes, 
show entrances and exits of characters, and grouping of 
incidents. 

You can afterwards condense, select and arrange the 
details. From your rough Scenario you can work out 
from 50 to 200 or more scenes. 

Analyze your story, and weigh its intrinsic value. If 
there is enough material in the plot to warrant and enable 
you to write a 2 reel picture you might do so. 


26 


PHOTOPLAY WRITING. 


If there is a middle in the plot, which is a thrilling situa- 
tion (a sort of climax, or anti-climax in itself), and the 
story is worthy of further development, you can no doubt, 
work the play into 2 reels. If however, the middle, or inter- 
mediate climax is missing, and the action of the plot, leads 
up to only one big scene, then the logical thing to do is to 
make a one reel picture. 

You should not start your story with quick action, but 
it should increase in action up to its anti-crisis, crisis, anti- 
climax and then climax. 

We advise you to put your talents to the test in writing 
plays for single and double reels jirst, 

A good story in a single or double reel, by an amateur 
writer always has a better chance of being accepted. 

After you have become experienced in Scenario writing, 
you can attempt the multiple reels made up in two, three, 
four, five and more reels. 


LESSON XIX. 

Emotion and Sympathy. 

True emotion is one of the essentials of a successful 
Photoplay. 

It stirs us into sorrow, pity, anger or contempt, also 
to laughter and happiness. 

You must have enough real action in your story or plot 
to enable the characters to awaken the emotions of the 
audience. Much of course, depends upon the character 
when acting the part, but you are obliged to furnish a 
good basis to work on. 

Sympathy is a big asset. It reveals itself by stirring our 
emotions and works heart-interest into the story. 

Bring out the sympathy in the most effective way 
possible. 

There is some sympathy in a scene showing a little boy 
and his aged mother living in one small, imventilated room. 
When you show, however, that the small boy is the only 


27 


PHOTOPLAY WRITING. 


support for the aged mother, that they are absolutely des- 
titute, without food, and the mother sick in bed, then you 
create sympathy. When action is coupled with your plot 
and sympathy, you will as a result, get real action. 

LESSON XX. 

General Instructions. 

After you have written your play you should read it over 
very carefully, cut out all unnecessary words, and eliminate 
any scenes, or parts of scenes, that are not actually essential. 

Take your time in writing your play. Go over it several 
times before sending it to the Producer. Every time you 
read the play you will no doubt find some place where you 
can improve it. 

Read it over, revise it and change it imtil you think it is 
in the best possible form in which you can put it. 

If there is any part of your play 'that does not seem clear, 
you should change that part until there is no doubt in your 
mind that it cannot he improved upon. 

You should study the moving picture proposition in all 
of its phases. Considerable knowledge can be acquired from 
jclose observation and discernment. Familiarize yourself 
with the chief points and essentials of the moving picture 
play, as you see it in your favorite theatre. Criticize the dif- 
ferent plays you see, and, if you observe one you do not 
like, try to ascertain why and what is at fault. Study the 
sequence of scenes, the exits of the different characters 
from one scene and their reappearance in another. 


LESSON XXI. 

Preparation of Manuscript. 

Your manuscript must be tastefully put together. Use 
white, unruled paper, about 8% x 11 inches in size, which 
you can secure from your stationer or druggist. 


28 


PHOTOPLAY WRITING. 


Have your Scenario typewritten, by all means. Very 
few companies will buy plays that are not typewritten. 
You do not stand one chance in a hundred of getting a play 
accepted that is not typewritten. Use double space. Write 
on one side of the paper only. 

Write your Title on the first sheet, the Synopsis on the 
second, your cast of characters on the third page, and then 
start your first scene on page four. ( See sample play.) 

Place the Title of your play on upper right-hand corner 
of each page, following the Title page. In upper right- 
hand corner of Title sheet write, “Submitted at usual 
rates,’’ or “Please make offer.” The best way to do is to 
mark (Submitted at usual rates). We firmly believe the 
producers are all reliable, and will pay you what your play 
is worth. 

Should you prefer to do so you can write {Please make 
offer) . When you ask them to make you an offer, however, 
it means correspondence, which most of the producers dis- 
like. 

Write your name and complete address in the left hand 
corner on the first and last sheets of manuscript. 

Fasten all pages together with paper clips or fasteners, 
which can be easily removed. 

Please bear in mind not to roll your manuscript. Editors 
will not read a rolled manuscript. 

Fold pages twice, and place in a legal size envelope, 
about 9% X 10 inches, which you can buy at the Post-office. 

Address another large envelope to yourself, put on suf- 
ficient postage, and enclose with your Scenario, so the 
Producer can return your script to you, if he does not 
accept it. 

The envelope you address to yourself, should be a trifle 
smaller than the other, so it will not have to be creased. A 
creased envelope, quite often breaks open in the mail, and 
your script may become lost. 

Address your envelope to the ""Scenario Editor/^ of 
whatever Company you send your play. To prevent the 
envelope in which you mail your script, from being lost. 


29 


PHOTOPLAY WRITING. 


write your name and address on upper left hand corner of 
envelope. 

Do not offer your play to any other Company, until the 
one to whom it is first sent, has notified you of its rejection. 

Do not write the Editor, about the merit of your story, 
he will judge the play for himself, and if he wants it, will 
pay you what it is worth. 

If you have been successful as a magazine writer, or sold 
any other literary work, you might mention this to the 
Editor when sending him your Play. 

If your play is rejected, and is soiled or wrinkled when it 
is sent back to you, have it rewritten on new paper, before 
sending it to another Producer for acceptance. 

It is well to have the heading of your different scenes, as 
well as your Leaders, Sub-Titles, or Inserts, written in red 
ink. This can easily be done, if the machine has a red ink 
ribbon. You will note we have printed them in italics. The 
names of the various Scenes and Sub-Titles will show up 
much more prominently, when written in red ink, and will 
facilitate matters considerably for the Editor and Director. 

Have a carbon copy of your manuscript made, for your 
records. 

If you do not hear from the Producers (to whom you 
send your Play) in a reasonable length of time, say 4 to 6 
weeks, then send a registered letter and enclose a stamped 
self-addressed envelope for reply. 

LESSON XXII. 

Where to Sell Plays^ and Prices Paid. 

We give you, on a separate sheet, which you will find in 
the front part of the book, a complete and up-to-date list 
of the firms, which are buying Photo-Plays. We have sep- 
arated them into different groups, so you can easily pick out 
the companies, which are in the market fpr the style of 
play you have written. 

Twenty-five dollars is a good average for a short play. 
A long multiple reel play of exceptional merit will often- 
times bring from two to three hundred dollars and more. 


30 


PHOTOPLAY WRITING. 


LESSON XXIII. 

Copyrights. 

We do not think it necessary to have your Photo-plays 
copyrighted. 

Very few are copyrighted before being presented to the 
Producers, whom we believe are thoroughly trustworthy in 
this respect. 

If, however, you want your play copyrighted, you can 
write to the “Register of Copyrights,” Washington, D. C., 
and ask him to send you an application blank. 

He will then advise you, as to the small fee charged, and 
will give you all information required. 

LESSON XXIV. 

Board of Censors. 

This board was organized in 1909, by the People’s 
Institute, at the request of the Film Manufacturers, and 
approves or rejects the pictures before they are released for 
public exhibition. The expenses of the board are paid by 
the film interests. 

New rules have just been adopted for a higher standard 
of films. 

A rigid ban is put on vice and crime pictures. 

The Board is opposed to films, which feature sensuous 
pictures, and will not pass pictures glorifying or exonorat- 
ing the evil doer. 

The portrayal of insanity will not be permitted. Scenes 
which tend to weaken the religious spirit, and are sacrileg- 
ious, will be condemned. 

LESSON XXV. 

The Production of a Photoplay. 

We want to give you a general idea of the inner workings 
of a Scenario studio, and the production of Photo-plays. 


31 


PHOTOPLAY WRITING. 


In the first place, the Scenario Editor puts the finishing 
touches on the manuscript, if necessary, and turns the same 
over to the Stage Director. 

The Director examines the Scenario very carefully, 
changes it a little to suit conditions, plans his scenes, and 
selects the actors and actresses he thinks are best qualified 
to play the various parts. He rehearses them with the ut- 
most care before he sends for the camera man. 

Then, the camera operator turns the crank of the camera 
machine, as the different scenes are enacted and winds off 
the film on which the photographs are taken. 

The pictures are produced on the screen, by the project- 
ing machine, with such rapidity that it deceives the eye, and 
appears as one picture. 

The projecting machine is called upon to reproduce a 
picture three-quarters of an inch square, to one from 15,000 
to 30,000 times that size, according to the dimensions of the 
screen on which the picture is shown. 

When the picture is first produced on the screen in the 
studio, the photography, and work of the actors is carefully 
examined and criticized. The defects in photography are 
taken care of, and improved, and the mistakes in acting are 
pointed out to the actors at fault. 

If some of the scenes are very poorly acted, they are cut 
out and re-enacted. 

When the Film Manufacturing Co. thinks the picture is 
in a satisfactory condition, they send it to the Exchange, 
who in turn supply the Theatre. 

LESSON XXVI. 

A Few Donats. 

Don't Plagiarize y or try to copy the theme of a popular 
book, a well known poem, or magazine story. You will 
not receive any consideration, if you infringe on copy- 
righted books or publications of any kind. 

All adaptations from Books, or magazine stories are 


32 


PHOTOPLAY WRITING. 


made by the salaried Staff writers of the Producers, or 
by the Scenario Editors themselves. Producers watch 
very carefully to see that they are buying original stories, 
as a great many law suits take place because the Idea of 
the Play was stolen from some copyrighted book or story. 

You canot write a scenario adapted from a copyrighted 
book or article unless you secure permission from the 
author. 

Donft write Scenarios, in which you show impossible in- 
ventions, or impractical machinery. These stretch too much 
on one’s imagination. 

Dort^t fill your Scenario with useless adjectives, or words 
that are not necessary. The more condensed, and still com- 
prehensive, the better. 

Don’t fill your Scenario with trivial details and explana- 
tions. They don’t appeal to Editors. 

Don't write plays that are expensive to produce. 

Don't enlarge or dwell on insignificant incidents in lay- 
ing out the different scenes. The big thoughts or ideas are 
entitled to the big scenes or settings. 

Don't depict scenes, if you can help it, of train wrecks, 
ships sinking, or automobile accidents, as these scenes are 
too expensive to produce, and your play is liable to be re- 
jected on that accoimt. 

Don't get high ideas about scenic display. Expensive set- 
tings cost money. The Scenario that can be inexpensively 
produced has a better chance of being accepted. 

Don't use too many leading characters. They are too 
hard to group in the small radius of the camera. 

Don't keep your characters too long in one scene, and on 
the other hand, don’t have too many short scenes. The 
length of scenes all depends on the nature of the play. 

Don't try to be humorous if your inclination is for trag- 
edy. Try and find out the kind of plays to which your nat- 
ure is best suited. 

Don't write about themes, and ideas which have no mean- 
ing. Quite often you witness a picture and after it is over 
you say to yourself; “What was it all about?” Unless your 


33 


PHOTOPLAY WRITING, 


problem is strong enough to be solved in a logical and 
reasonable way it is a waste of time to try to work it into a 
Scenario. 

DonH write illogical, lurid or immoral plays. 

Don't introduce an action that is not consistent with pre- 
cedent. 

Don't incorporate actions in your play that are impos- 
sible. 

Don't let the thread of your story get broken in writing 
your play. Keep the incidents all closely linked together. 
The tighter the connection, the better the story. A dis- 
jointed action will not suffice. 

Don't write about tragic subjects, murders, suicide, un- 
canny incidents, coffins or grave yards. 

Don't reflect on any religion, belief or nationality. Re- 
member the moving picture audiences are made up of all 
kinds of people. 

Don't show the commission of a crime, or depict immoral 
actions. 

Don't write on themes with which you are not familiar. 
Study your different characters ,and have them do things, 
that are consistent with the parts they play. 


LESSON XXVII. 

Conclusion. 

Do not be suspicious and imagine your play will be stolen 
by the Producer. A person quite often sees a play on the 
screen which resembles one of their’s that has been rejected; 
they immediately jump to the conclusion that it is their 
pla}^ and unjustly accuse the Film Co. They should stop 
to consider that others might have had the same idea, and 
that the Scenario could have been accepted, and the play 
produced, before their cherished effusions could have pos- 
sibly been written. 


34 


PHOTOPLAY WRITING. 


Do not be discouraged if you do not sell your first Sce- 
nario. Should it be returned to you, send it to some other 
company, after you have read it over, and made any 
changes for its improvement. 

If your play is returned to you it might be due to the fact 
that the company to whom you sent it did not have use for 
that particular kind of a play, although your play might 
suit another company. 

If your play has any merit, some company will pos- 
sibly buy it. A great many plays, have been revised many 
times, and sent to several different film manufacturing 
companies, before they have been accepted. 

There is an enormous demand at present and there will 
be a greater demand in the future for original Scenarios, 
especially written for screen production. 

The motion picture industry is going through a change 
continually, and logical stories, with human interest and 
action are needed to take the place of Scenarios written 
from old Plays or Books. 

The Public is becoming dissatisfied with old plots re- 
hased from some published book. You have a better chance 
of selling your Plays at present than you had six or eight 
months ago and the Producer to whom you submitted it 
several months ago, may be glad to give it earnest con- 
sideration at present. 

Your story, however, must be original and unique; must 
be decidedly different and with enough real punch to make 
the Scenario Editor “sit up and take notice.’’ 


I 


EMBRIE ZUVER 
609 West 1 2 7th St. 
New York City 


Submitted at Usual Rates. 


TIMID TEDDY 



II 


Timid Teddy. 


SYNOPSIS. 

Teddy Tyler, a young man of about 22 years of age, has 
been left several million dollars by his father. He is con- 
sidered a most desirable husband by the matrimonially in- 
clined mothers. He is, however, of a very timid, bashful 
nature. He doesn’t smoke, drink, swear, nor stay out late 
at night. His chum, Harry Jackson, thinks it a pity that so 
much money should go to waste when many beautiful 
young girls need so many things that the money would buy. 
He tries to get Teddy to propose, but without results. He 
eventually hits upon the idea of giving Teddy some Dutch 
courage, that is to get him drunk, thinking by so doing he 
will propose to Martha Stone, whom he knows loves Teddy. 
He succeeds in getting Teddy “half seas over” and in this 
condition takes him to a couple of dances, where he pro- 
poses to every girl he meets. The next morning, when he 
sobers up, he is confronted by the awful predicament that 
he has proposed to at least two ladies who have accepted 
him. Neither one is Martha, the girl he desired to propose 
to. How he gets out of his trouble and eventually proposes 
to Martha, gets married and lives happily ever after, is 
told in the latter scenes of this script. 







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Ill 


Timid Teddy. 


Teddy Tyler 

Harry Jackson 
Edith Harcourt 
Mrs. Harcourt . 
Tom Ransom . . . 
Janice Ransom . 

John Stone 

Martha Stone . . , 
Butler 


CAST OF CHARACTERS. 

Light Comedy Lead 

Juvenile 

Very, Very Fat Soubrette 

Grande Dame 

Juvenile 

Tall, Scrawny Old Maid 

Character Man 

Ingenue 

Character Comedian 


Supers. 

Maids, City Editor, Guests at Dance, Footmen, etc., etc. 

Props. 

Toilet articles for Teddy 
Decanters 
A taxi 
Punch bowl 
Punch ladle 
Letters 
Cigarettes 

Dance programs for both dances 
Bromo Seltzer 
Bouquet of flowers 
A large roll of money 
Writing materials 

Scene Plot. 

Scene 1, 3, 5, 7, 9, 45, 50, 52— Teddy’s rooms. 

Scene 2, 6, 51— Exterior of apartment house (Teddy’s). 

Scene 4, 8, 30, 32, 34, 36, 38, 40, 42, 44 — Teddy’s bedroom, showing other 
room, through door. 

Scene 10 — Living room at Ransom’s. 

Scene 11— Exterior of Ransom’s. 

Scene 12, 14, 16, 18, 20, 22, 23, 25, 27— Ballroom at the Stones’. 

Scene 13, 29, 49 — Exterior at the Stones’. 

Scene 15, 17, 19, 21, 24, 26, 28— Alcove of ballroom at Stones’. 

Scene 31, 33, 35, 46 — Edith’s boudoir. 

Scene 37, 39, 41, 47— Breakfast room at Ransom’s. 

Scene 43 — Newspaper office. 

Scene 48 — Mail box at street corner. 


A broom 

Bottles 

Glasses 

Sofa pillows 

Punch glasses 

Newspapers 

Cigars 

Cigarette case 

Towel for Teddy’s head 

Telephone 

Materials for breakfast 
Limousines 


Reasons for Giving Prop and Scene plots; in addition 

TO CAST OF CHARACTERS. 

The cast of characters is given as a guide for the director 
to quickly pick his types, without being obliged to wade 
through an entire manuscript and bother to read scene 
by scene. All directors have different methods of casting 
their pictures; no two working alike, and, although some 
may pay no attention to the cast of characters yet most all 
of the directors working for the Syndicate, or Trust studios, 
find it easier to have a cast submitted. 

The property plot is made out to aid the property man 
for, though he reads through the script, the same as the 
director, yet a list of important props, being typed, saves 
him a great amount of time, and time is of value in studios. 

The scene plot is done for the same purpose, it not only 
saves the carpenter time in making his sets, but aids the 
director in knowing just how many scenes take place in 
the various sets. When the scene plot is made out, the di- 
rector can see at a glance which sets have the most number 
of scenes and thus can have them set accordingly. 


IV 


Timid Teddy. 


Scene 1 : Teddy's Rooms. 

Butler cleaning glasses and tidying up room and at- 
tending to other various duties such as one would at- 
tend to when they “buttle.” 

Scene 2 ; Exterior of Teddy's Apartment House. 

Jackson, Teddy’s chum, seen approaching. Enters 
into picture and goes up to the door. 


Scene 3: Interior of Teddy's Rooms {same as 1.) 

Butler registers fact that he hears bell ring. Puts 
down his duster, exits out of picture, presumably to 
let Jackson in the front door. Enters in picture 
again, following Jackson; goes to door of Teddy’s 
bedroom. 

Scene 4 : Teddy's Bedroom. 

Teddy, a very particular and fastidious young man 
of the effeminate type, is just completing a very 
finicky toilet gazing at himself in mirror, etc. Butler 
enters and informs him of Jackson’s arrival. He 
and Teddy both exit into 


Scene ,5: Same as 

Teddy greets Jackson, who calls to the butler for a 
drink. Butler serves drinks for two. 


Sub- Title No. 1: '"It's time you married and settled 
down." 

Jackson drinks his, Teddy “in a ladylike manner” 
refuses his drink, registering the fact that he doesn’t 
drink or smoke or swear. Jackson coaxes him to 
take the drink and proceeds to give him the advice 
in the above sub-title. 

Scene 6: Exterior {same as 2). 

Edith Harcourt and her mother alight from a lim- 
ousine, go up to front door and ring bell. 



V 


Timid Teddy, 


Scene 7: Same as 5, 

Jackson, rallying Teddy about his timidity. Bell 
rings. All register the fact. Butler exits to answer 
bell. J ackson tiptoes to window, sees who is coming, 
registers the fact so that Teddy does not see him. 
Crosses back to Teddy, who is busy polishing his 
nails as Edith and her mother enter. The mother 
registers the fact that she thinks Teddy a desirable 
match for her daughter and makes much of him. 

Sub-Title No. 2 : '"Leave them together."" 

Edith is sitting on sofa with Teddy. Mother regis- 
ters above sub-title to Jackson. Jackson asks 
Teddy’s permission to show the mother the rooms. 
Teddy grants it. Mother and Jackson exit. 


Scene 8: Teddy"s Bedroom {same as 4.) 

Jackson and mother enter and peep cautiously 
through the door. 


Scene 9 : Same as 7. Close up to sofa in room. 

Edith making love to Teddy. Teddy very nervous. 
Edith shows disgust, registering “You’re a fine kind 
of a man, that a woman has to make love to you.” 
Jackson and mother enter from bedroom; Edith 
goes to mother and suggests that they leave, which 
they do. After their exit, Jackson kids Teddy on 
his timidity, advises him to get drunk. 


Sub- Title No. 3: "A little Dutch courage might be good 
for you."" 

Bach to scene. 

Teddy goes to sideboard and starts drinking fever- 
ishly from the various bottles thereon, laying a 
foundation for the future “jag.” 



VI 


Timid Teddy, 

Sub-Title No, 4: Later — Janice proposes — Teddy dis- 
poses. 

Scene 10 : Interior of Ransom's Home ( The living room) . 
Tom Ransom sitting smoking when Maid an- 
nounces Teddy, who enters and is welcomed by 
Tom. Tom goes to door and calls Janice, who 
enters, and, upon seeing Teddy, welcomes him ex- 
uberantly, sitting on a settee, she shifts over and 
makes room for Teddy, calling him beside her. 
Tom, seeing this, makes an excuse to leave on busi- 
ness. The maid brings his hat and coat. Tom exists. 
Teddy looks around in desperation, finding himself 
alone with Janice, attempts to follow Tom. Janice 
pulls him back down on settee by coat-tails, putting 
her arm around his neck, after he is down, and 
trying to make love to him. Teddy struggles and 
eventually gets away. Hurriedly exits, without his 
hat. Janice registers chagrin. 

Scene 11 : Street outside of house, 

Tom comes from the house, stops a car, gets in. 
Car starts. Teddy comes dashing out of house, sees 
car in distance, runs after it and jumps on out of 
breath. 

Sub-Title No. 5: "'Later — at the Stone's dance." "Wine 
lets no lover unrewarded go." 

Scene 12: Interior of the drawing room at Stone's house, 
Mr. Stone and Martha, his daughter, are receiving. 
Tom Ransom and his sister, Janice, enter: Edith 
and her mother enter and mingle with the guests. 

Scene 13: Eooterior of Stone's house, showing awning and 
carpet stretched to the curb. 

A taxi drives up. Jackson and Teddy get out. 
Teddy paying the taxi and registering a big roll of 
bills. Both exit into the house. 



VII 


Timid Teddy. 


Scene 14; Same as 12. 

Guests are all dancing. Jackson and Teddy enter; 
are greeted by Mr. Stone nad Martha, and then go 
off and mingle with the guests. 

Sub-Title No. 6; ''If at first you don't succeed, try, try 
again!" 

Scene 15; Another portion of ballroom, showing Punch 
Bowl. 

Teddy and Jackson are sampling the brew. Teddy 
drinking a great deal. Edith comes in from alcove, 
leading to the dancing floor, and asks Teddy to 
dance with her. He acts peevish and will not dance 
with her but goes back to the Punch Bowl. Jackson 
offers her his arm, she accepts, and they dance off 
into the crowd; Teddy, meanwhile giving enthusi- 
astic attention to the Punch Bowl. Cut to 

Scene 16 ; Another portion of ballroom. 

Martha looking after her guests, notices Teddy in 
the distance, still at the Punch Bowl. She goes to 
him. Cut bach to 

Scene 17; Same as I S. 

Teddy is now quite drunk. Martha enters and asks 
him why he is not dancing. Teddy has gotten his 
courage. Makes violent love to Martha. She puts 
him off registering that she thinks him intoxicated. 
He stumbles back onto settee, pulls out cigarette 
case and smokes. 

Scene 18; Same as 14. 

Jackson and Edith are dancing, Edith notices that 
Teddy is smoking in the alcove and leaves J ackson. 

Scene 19; Same as 17. 

Edith enters; Teddy upon seeing her immediately 
makes “alcoholic love.” Is accepted. 



9 ' 






VIII 


Timid Teddy. 


Scene 20: Same as 18. 

J ackson amusedly watching, notices the acceptance. 


Scene 21 ; Same as 19. 

Teddy still making love to Edith, even though he 
has been accepted. Edith rapturously embraces him 
and exits. Teddy applies himself industriously to 
the punch bowl. 

Scene 22: Same as 20. 

Edith rejoins Jackson, registers that she is very, 
very happy, telling him that Teddy has just pro- 
posed to her. He laughs and they dance off to- 
gether. 

Sub-Title No. 7: Cupid is generous. 

Scene 23: Same as 14. 

Janice is fanning herself and glances at her x)ro- 
gram. 

{Insert of program:) All spaces taken up except- 
ing one, her finger indicates it, 

Janice looks up and sees Teddy in distance, smiles 
back at her program, rises and exits. 

Scene 24 : Same as 19. 

Teddy is still at the Punch Bowl. Janice enters. 
She shows him her program. He takes her by the 
arm affectionately and they retire to the settee. 

Scene 25 : Same as 20. 

Jackson looking for Teddy, sees him with Janice 
and watches. 

• Scene 26: Same as 24. 

Teddy makes violent “alcoholic love” again but to 
Janice, who is very coy, but overcome by his furious 
love making blushingly accepts him and rushes out. 



IX 


Timid Teddy, 


Scene 27: Same as 25. 

Janice rushes up to Jackson, tells him the good 
news, and rushes off. 

Insert: Great Scott j I must get him away from 
here or he will become engaged to every gvd in the 
room. 

Back to scene. 

He exits. 


Scene 28: Same as 26. 

Teddy is now maudlin. Jackson enters and takes 
him away. 

Scene 29: Exterior of house {same as 13.) 

Teddy and Jackson exit from house. Footman 
calls them a taxi, which they enter and are driven 
off. 


Sub-Title No. 8: Next morning. 


Scene 30: Teddy^s Bedroom {same 4.) 

Teddy is sitting on edge of bed, in dressing gown, 
towel about his head. A most abject specimen. 
Butler is arranging him a Bromo Seltzer. Butler 
registers he hears the bell ring. Teddy orders him 
to go and answer the door, throwing Bromo Seltzer 
bottle after him. Butler returns following Jack- 
son. Jackson laughs at Teddy’s predicament. But- 
ler arranges another Bromo Seltzer for him. He 
drinks it while effervescing and chokes on it, But- 
ler slaps him violently on back. Jackson tells Teddy 
of his two engagements. Teddy registers horror! 
Goes to phone. 


Sub-Title No. 9: ''I must break these engagements off 
at once!' 




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Timid Teddy, 


Scene 31 : Edith's boudior, 

Edith in her kimona in front of dressing table, look- 
ing at herself intently in mirror. She registers 
happiness. Telephone bell rings. 


Scene 32: Same as 30. 

Teddy registers the fact that he is talking on the 
phone to someone. 


Scene 33: Same as 31 [Close-Up). 

Edith’s face beaming with joy. She registers that 
she is using endearing words. 


Scene 34: Same as 32. 

Teddy trying hard to explain. Jackson and Butler 
convulsed with laughter. 

Scene 35: Same as 33. 

Edith talking very rapidly and smiling. She blows 
a kiss into the telephone receiver. 

Scene 36: Same as 34. 

Teddy hangs up receiver with resignation. 

Inserts: try the other one"' 

Bach to scene. 

Teddy takes up receiver and tries to get another 
number. 


Scene 37 : Dining room in the Ransom's. 

Janice setting table, just putting flowers in center- 
piece. Telephone rings. She goes to answer it. 
Is overjoyed when she hears whose voice it is, talks 
rapidly. 

Scene 38: Same as 36. 

Teddy trying to get a word in edgewise at the 
telephone. 



XI 


Timid Teddy. 


Scene 39: Same as 37. 

Janice crowding a multitude of love words into the 
phone. 


Scene 40: Same as 38. 

Teddy resignedly drops the receiver and it hangs. 


Scene 41 : Same as 39. 

J anice still talking. Thinks it funny that she gets 
no answer, pouts and hangs up. 


Scene 42: Same as 40. 

Teddy at his wit’s end. Appeals to Jackson. Both 
stop and take positions in the attitude of thinking. 
Butler helps them think, mimicking them behind 
their backs. Jackson registers “I have it!” 


Sub-Title No. 10: Publish in the papers the fact that 
you went broke on the stock market'* 

Teddy looks at him and says ‘‘All right. I’ll try 
anything once.” Goes again to phone, puts receiver 
back on its hook, shakes the hook a couple of times, 
then telephones. 


Scene 43: Interior of newspaper office. 

Boy takes news of Teddy’s financial failure to City 
Editor. He expresses surprise, but accepts it. 


Scene 44 : Same as 42. 

Teddy puts receiver back on hook, shakes hands 
with Jackson and tells the Butler to get them a 
drink. 


Sub-Title No. 11: Next day. 

























XII 

Timid Teddy. 

Scene 45: Teddy^s rooms (same as 1). 

Teddy at breakfast. Butler brings in newspaper, 
Teddy glances through it and sees the notice. 
Insert : It is reported that Teddy Tyler, the wealthy 
stock broker, lost his entire fortune on the Street 
to-day. 


Back to scene. 

Teddy shows pleasure. Butler registers he hears 
bell ring. Exits and comes back following Jack- 
son, who is shown the notice. Both chuckle with 
glee. 


Sub-Title No. 12: The horrible news. 


Scene 46: Same as 31. 

Edith and her mother receive the morning papers. 
Edith reads the notice and is horrified, shows it 
to her mother. 

Insert flash of newspaper notice. 


Back to Scene. 

Edith resolves to write a letter breaking off the en- 
gagement, which she immediately does, hands it to 
the Maid, who goes out to post it, and is then con- 
soled by her mother. 


Scene 47 : Same as 37. 

Tom Ransom and Janice at table. Maid comes 
in with mail and morning paper. Tom sees the 
notice, gives it to Janice, she reads it and immedi- 
ately bursts into hysterical tears. (This must be 
broad burlesque.) He comforts her. She then 
registers anger, calls the maid, tells her to get 
writing paper and envelope. Maid brings writing 
materials. Janice writes note, gives it to Maid to 
mail. Maid exits. 



XIII 


Timid Teddy. 


Scene 48 : Letterbox on a corner. 

The two maids come on from different directions 
and post letters. Gossip for a moment, drop letters 
in box and exit in different directions. 


Sub-Title No. 13: Cupid strikes the right spot. 


Scene 49: Porch of the Stone's Mansion. 

Martha’s father reading on the veranda, Martha 
watering plants in the garden. Mr. Stone sees the 
notice in newspaper, calls Martha’s attention to it. 
She expresses sorrow, Mr. Stone leaves to go to his 
business and Martha enters the house. 


Sub-Title No. 14: The next day. 


Scene 50: Same as 45. 

Teddy and Jackson are sitting smoking, Butler 
brings in the mail, which consists of two letters. 
Teddy excitedly opens one and reads : 

Insert: Dear Teddy: 

I have enough hard luck of my own, I can never 
marry a poor man. Consider our engagement 
broken. Farewell forever! 

Edith. 


Teddy passes letter to Jackson. Looks up and 
catches the butler reading over his shoulder. 
( Close-Up) , of kicking him out of the room, return- 
ing to chair and opening the second letter which he 
reads. 

Insert : My heart is bursting with grief for your mis- 
fortune, but I cannot, for a moment, think of an- 
nexing your troubles for life. I am going abroad to 
forget you. I will be gone for thirty years. 

Your heartbroken, Janice. 


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XIV 


Timid Teddy. 

Teddy dances with glee, grabbing Jackson by the 
shoulders, calls for the Butler to come in and ar- 
range some drinks, which he does. 


Sub-Title No. 15: Later. 


Scene 51 : Exterior {same as 2). 

Martha drives up in her limousine and enters, pass- 
ing Jackson on the steps, who is exiting from the 
house. 


Scene 52 : Same as 50. 

Teddy is alone. Butler announces Martha. She 
is ushered in. Condoles with Teddy over the loss 
of his money and. offers to loan him enough to start 
over again. Teddy is greatly mortified and tries 
to get up courage enough to tell Martha the truth, 
registering the fact that he is very uncomfortable. 
He finally musters up enough courage to go up to 
Martha and in an awkward manner proposes to her 
and is accepted. 


FINIS. 



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